乔布斯传之节选10

Cinderella

from Chapter 10

Jef Raskin was the type of character who could enthrall Steve Jobs—or annoy him. As it turned out, he did both. A philosophical guy who could be both playful and ponderous, Raskin had studied computer science, taught music and visual arts, conducted a chamber opera company, and organized guerrilla theater. His 1967 doctoral thesis at U.C. San Diego argued that computers should have graphical rather than text-based interfaces. When he got fed up with teaching, he rented a hot air balloon, flew over the chancellor’s house, and shouted down his decision to quit.

*****************************************************
       
The disagreements were more than just philosophical; they became clashes of personality. “I think that he likes people to jump when he says jump,” Raskin once said. “I felt that he was untrustworthy, and that he does not take kindly to being found wanting. He doesn’t seem to like people who see him without a halo.” Jobs was equally dismissive of Raskin. “Jef was really pompous,” he said. “He didn’t know much about interfaces. So I decided to nab some of his people who were really good, like Atkinson, bring in some of my own, take the thing over and build a less expensive Lisa, not some piece of junk.”

Some on the team found Jobs impossible to work with. “Jobs seems to introduce tension, politics, and hassles rather than enjoying a buffer from those distractions,” one engineer wrote in a memo to Raskin in December 1980. “I thoroughly enjoy talking with him, and I admire his ideas, practical perspective, and energy. But I just don’t feel that he provides the trusting, supportive, relaxed environment that I need.”

But many others realized that despite his temperamental failings, Jobs had the charisma and corporate clout that would lead them to “make a dent in the universe.” Jobs told the staff that Raskin was just a dreamer, whereas he was a doer and would get the Mac done in a year.

Nina

rom Chapter 10

杰夫•拉斯金属于能让史蒂夫•乔布斯又爱又恨的那类人，事实证明，他做到了。杰夫•拉斯金学识广博，智慧过人，他有着哲学家的智慧，时而幽默风趣，时而沉闷呆板。他曾攻读计算机科学，教授音乐与视觉艺术，也经营一家小型歌剧院，甚至组织过街头哑剧。1967年拉斯金毕业于加州大学圣地亚哥分校，在博士论文中他提出计算机应使用图形界面而不是基于文本的界面。当他厌烦了教书工作后，他租乘热气球飞过校长家，大声喊出了他的辞职决定。
*****************************************************
        

杰夫•拉斯金与史蒂夫•乔布斯之间的分歧不仅仅在于哲学思想，还在于他们的性格冲突。拉斯金曾说道“他喜欢别人完全按照他的命令做事，他让人跳别人就得跳。我觉得他这人靠不住，而且他很讨厌被别人发现他的不足之处，喜欢别人把他看成戴有光环的大英雄”。 乔布斯也曾对他反唇相讥道“杰夫太狂妄自大了，他其实根本不了解界面，所以我决定接管他的项目，集结部分他的人才，如阿特金森，加上我原有的团队，发明一台比丽莎更便宜的电脑，而不是些没用的废品。有些乔布斯的属下觉得和他一起工作真的很难。 “他大力推行高压政策，把工作视为政治斗争或是与敌人的激战，从不愿享受片刻的清闲，”一个工程师在1980年给拉斯金的便签上写道“我很享受与他的交谈，也很欣赏他的想法，切合实际而又充满活力。但我从未觉得他提供了我所需要的充满信任，支持与自在的工作环境。”

尽管他喜怒无常，但大多数还是觉得乔布斯所特有的领导才能与魅力一定能够带领他们在IT领域大放光彩。乔布斯曾对员工说过拉斯金只是一个空想家，而他确实个实干家，所以他一定能在一年内让麦金塔电脑问世。

E0907郝准

讨论前的译文：

杰夫•拉斯金就是那种使乔布斯或者佩服或者不屑的人。事实上，他两者都是。拉斯金是一个有哲学内涵的人，既不乏幽默，也不失稳重。他学的是计算机科学，教的却是音乐和视觉艺术；开的是一家小型歌剧公司，导演的却是街头剧。 1967年，在圣地亚哥加利福尼亚大学读书的拉斯金写了一篇博士论文，主张计算机的界面应该是生动形象的图画，而不是生硬无聊的文字。当他厌倦了教学时，他租了一个热气球，飞到校长房子的上空，向下呼喊他要辞职的决定。      
拉斯金和乔布斯在计算机的发明创造上观点有所不同，这并不仅仅是两种不同哲学观点的冲突，而是两种不同个性的碰撞。拉斯金曾说：“乔布斯喜欢‘他说跳，别人就跳’的这种强势感。我觉得他这个人不可靠，若别人说他不够优秀，若别人忽视了它的光环，他就不高兴。”对拉斯金，乔布斯同样表示轻视，他说：“拉斯金真得很自大，他对计算机的界面根本就不够了解。所以我决定从他那儿挖点人才来，比如阿特金森，他就采用了我的技术，完成了一件很不错的事，发明了一种更为廉价的计算机，名叫丽莎，这种计算机绝不是垃圾产品。”
然而，乔布斯团队里的某些人觉得无法和乔布斯一起共事。1980年10月，其中的一名工程师写了一份备忘录给拉斯金，说：“乔布斯喜欢对他的员工采取高压政策、政治手段和雄辩激战，从来不会有丝毫通融。我很享受和乔布斯交谈，我也很钦佩他那些实用性很强的观点和他那充沛的精力。但是，我觉得他没有给我提供一个充满信任、支持和轻松的环境。”
虽然乔布斯喜怒无常，但公司里的其他工作人员不得不承认他确实有着非凡的领导力和团体影响力，是这两种力量带领着他们在这个宇宙中取得有效进展。乔布斯向他的员工说拉斯金纯粹是个空想家，他才是实干家，在一年之内就可以造出苹果机。

E0907郝准

石海英和郝准讨论后的译文：

杰夫•拉斯金就是那种使乔布斯或者佩服或者不屑的人。结果证明，他两者都是。杰夫•拉斯金有着哲学家的智慧，时而幽默风趣，时而沉闷呆板。他曾攻读计算机科学，教授音乐与视觉艺术，也经营一家小型歌剧院，甚至组织过街头哑剧。1967年，在圣地亚哥加利福尼亚大学读书的拉斯金写了一篇博士论文，提出计算机应使用图形界面而不是基于文本的界面。当他厌烦了教书工作后，他租乘热气球飞过校长家，大声喊出了他的辞职决定。
杰夫•拉斯金与史蒂夫•乔布斯之间的分歧不仅仅在于哲学思想上的冲突，还在于他们性格上的碰撞。拉斯金曾说道：“乔布斯喜欢别人完全按照他的命令做事，他让人跳别人就得跳。我觉得他这人靠不住，而且他讨厌被别人发现他的不足之处，喜欢别人把他看成戴有光环的大英雄。”乔布斯也曾对他反唇相讥道：“杰夫太狂妄自大了，他其实根本就不太了解界面，所以我决定接管他的项目，集结部分他的人才，如阿特金森，加上我原有的团队，发明了一种更为廉价的计算机，名叫丽莎，这种计算机绝不是垃圾产品。
有些乔布斯的属下觉得和他一起工作真的很难。1980年10月，一个工程师在给拉斯金的便签上写道：“乔布斯大力推行高压政策，把工作视为政治斗争和与敌人的激战，对员工从来不会有丝毫通融。我很享受与他的交谈，也很欣赏他那些切合实际的想法以及充沛旺盛的精力。但我觉得他未曾给我提供一个我所需要的充满信任、支持与自在的工作环境。”
尽管他喜怒无常，但大多数公司职员还是觉得乔布斯所特有的非凡领导才能与团体影响力一定能够带领他们在IT领域大放光彩。乔布斯曾对员工说过拉斯金只是一个空想家，而他才是个实干家，所以他一定能在一年内让麦金塔电脑问世。

Cinderella

Guerrilla theatre, more generally rendered "Guerrilla Theater" in the US is a term coined in 1965 within the San Francisco Mime Troupe to describe its performances, that in spirit of the Che Guevara writings from which the term guerrilla is taken, were committed to "revolutionary sociopolitical change." The group performances, aimed against the Vietnam war and capitalism, sometimes contained nudity, profanity and taboo subjects that were shocking to some members of the audiences of the time.

Guerrilla (Spanish for "little war"), as applied to theatrical events, describes the act of spontaneous, surprise performances in unlikely public spaces to an unsuspecting audience.Typically these performances intend to draw attention to a political/social issue through satire, protest, and carnivalesque techniques. Many of these performances were a direct result of the radical social movements of the late 1960s through mid 1970s. Guerrilla Theater, also referred to as guerrilla performance, has been sometimes related to the agitprop theater of the 1930s, but it is differentiated from agitprop by the inclusion of Dada performance tactics.

Guerrilla theater shares its origins with many forms of political protest and street theatre including agitprop (agitation-propaganda), carnival, parades, pageants, political protest, performance art, happenings, and, most notably, the Dada movement and guerrilla art.[11] Although this movement is widely studied in Theater History classrooms, the amount of research and documentation of guerrilla theater is surprisingly lacking. The term, "Guerrilla Theater" seems to have emerged during the mid-1960s primarily as an upshot of radical activist theaters such as The Living Theatre, San Francisco Mime Troupe, Bread and Puppet Theater, El Teatro Campesino, and the Free Southern Theater.[12] It also has important roots in Allan Kaprow's "happenings". The first widely documented guerrilla performances were carried out under the leadership of Abbie Hoffman and the Youth International Party (Yippies). One of their most publicized events occurred on August 24, 1967, at the New York Stock Exchange where Hoffman and other Yippies threw dollar bills onto the trading floor below. Creating a media frenzy, the event was publicized internationally. In his later publication, Soon to be a Major Motion Picture (1980), Hoffman refers to his television appearances with specially planned subversive tactics as "guerrilla theater."[13] Another guerrilla performance group that continued the use of the term was the Guerrilla Girls. This group of feminist artist-activists was established in New York City in 1985 with the purpose of bringing attention to the lack of female artists in major art galleries and museums. The Guerrilla Girls began their work through guerrilla art tactics which broadened to include guerrilla theater. Some common practices in their guerrilla theater techniques that have been replicated by other groups include appearing in costume, using assumed names, and disguising their identity. The origins and legacy of guerrilla theater can be seen in the work of these political/performance groups:

ACT UP
Billionaires for Bush
Billionaires for Wealthcare
Bread and Puppet Theater
Church Ladies for Choice
The Church of Euthanasia
Circus Amok
Clandestine Insurgent Rebel Clown Army
El Teatro Campesino
Oil Enforcement Agency
Reclaim the Streets
Reverend Billy and the Church of Stop Shopping
San Francisco Mime Troupe
Welfare State International
Free Southern Theater

from Wikipedia